Name: THE BUBONIC BIMBOS OF BARBIELAND CHOP THE HEADS OFF THEIR ADVERSARY'S MAN CHICKENS by Gary Lloyd Noland, composer
Duration: 8 min 38 s
Description: The Pimpleton Procrasturbation Ensemble performs THE BUBONIC BIMBOS OF BARBIELAND CHOP THE HEADS OFF THEIR ADVERSARY'S MAN CHICKENS by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

Tempelhof instrumental version (DEMO)

Full length - https://hshirptsubaki.bandcamp.com/album/the-day-when-winter-and-spring-intersect

A short 60-minute trip for the day when winter and spring will soon intersect.

The same sound goes on forever. There is no development in this song.

I love those days when the seasons intersect, when it's not spring and it's not winter.
And I've always loved drone ambient, which has neither subjectivity nor development.

Hirotaka Shirotsubaki

The Day When Winter And Spring Intersect - Sample

SnakeFish - I Hope Is Not Just An Illusion

Adrift

https://radiopunctum.cz/shows/flexible-grooves

February Flexible Grooves by Valoa (@valoa). Recorded live at Tendance Listening Bar. (@tendancedance)

Tracklist:
Ezeph - Egregore
Magaphon - Brake We Down (Etheral Mix)
Scientist Vs J Gabriel - Too Far Gone (Mike Shannon Vs Deadbeat Remix)
Federsen - Zazen
SND & RTN - Defiled
Schulz Audio - C-500A
Deadbeat - Adieu Chez Cherie
Javano - Cubes
Federsen - Druid Heights (Kooscha remix)
Subset - Falling To Iguazu
Echo Inspectors & Subset - Youthman feat. Prince Morella (Biodub Remix)
Robert Fleck - Bromine
Bas Dobbelaer - Layers Of Territory

Flexible Grooves 02/24 by Valoa

Dave Bessell Chromatic Lightning Cage DiN84

Release date 15th March 2024
Limited to 250 copies Digipak CD

This new release from synthesist Dave Bessell sees him completing a quartet of albums loosely based on the Greek philosophy of the Four Elements, namely Fire, Water, Earth and Air. There’s certainly no doubting that “Chromatic Lightning Cage” with its vivid cover is referencing Fire but this personal odyssey started with the concept of Water on his inaugural solo album, “Analogue” released in 2010. This was followed by “Black Horses Of The Sun” (DiN47) - Air, and “Reality Engine” (DiN62) - Earth.

Bessell has also released three collaborations with Parallel Worlds on the DiN imprint as well as being part of the synth supergroup Node. It is interesting that whilst the Berlin School inspired sequencer riffs of the latter dominate the soundstage Bessell largely eschews this approach on his own albums. Rather on this and his other DiN solo releases he explores interesting harmonic progressions with a series of interlocking delicate arpeggios. This is most evident on the opening track “After Hours” as well as the beautiful closing piece “Elegy”. Elsewhere Bessell blurs the line between guitar and synth using his stringed instruments as controllers for his modular systems. His music has always had an element of the soundtrack to it and this is certainly highlighted in the track “Ariel” which has a mystical, unearthly quality to its soundscapes. Bessell has noted that the ghosts of Amon Tobin and Nils Frahm wander through this album at times which is certainly an intriguing thought.

Always one to push the boundaries Bessell has included a QR code in the Bandcamp download version of the album that opens up an augmented reality vista from the cover image. Lovers of Electronica, Downtempo, Ambient and Soundtracks will find much to admire in “Chromatic Lightning Cage” and this new album once again showcases the unique talent of this highly individual musician.

 
 01 After Hours   05:43
02 Forest Under The Sea   03:41
03 Darkening Air   07:17
04 Dream Of The Red Chamber   07:10
05 Ariel   05:01
06 Unheimlich   08:36
07 Nightshade   08:55
08 Moths   09:34
09 Elegy   06:31

Total Time :  62:46

Chromatic Lightning Cage

Buy CD / Download

Chromatic Lightning Cage by Dave Bessell (DiN84) Demo Mix

Feral Earth, the third full length from Berlin’s Curse All Kings (and second shared with Cyclic law) celebrates the expansion of the collective around B.S.s. (Common Eider King Eider) to include Fabian Van Beek (Kluizenaer, Lavvra, Hagiophobic), Bryan Bray (Gates, Sutekh Hexen collaborator) and Edie. (La Haine, Common Eider King Eider collaborator). And with these extraordinary collaborators, each soaked in their own personal worlds of dark ambience and black metal, the third chapter of Curse All Kings unfolds with suffocating fury and wrath. The arrangements move from almost inaudible ritualistic hums and murmurs, through patient and methodical ritual repetitions, into furious abstracted atmospheres of blackened noise and black metal. What few finger holds the organic drones and compositions offer in the quieter sections of Feral Earth quickly burn away with searing guitar lines stretched, distorted and disfigured almost beyond recognition… Only hints, memories, and echoes of shadows remain. Pummelling doom drums and apocalyptic blast beats suggest movement and coherence, but that mask is quickly removed to show its true face of chaos and hopelessness. When the sonic themes and vocal offerings on these arrangements are more present, they are heartbroken and crushed by the weight of the world… trampled and cast aside. Yet within all of this insurmountable despair, there is a sense of beauty and hope. Like witnessing a hungry fox walk the filthy inner city streets at 4 AM.. It looks up at you, feral and defiant. Co-Released with BSBB.  

CD edition of 200 copies. Handmade fold ou A5 sleeve with bonus patch. 6 Tracks. Running Time 41:57
Standard LP edition of 200. 3mm Sleeve, printed inner sleeve. 6 Tracks. Running Time 41:57
Special Edition Ash on bone marbled LP of 100. 3mm Sleeve, printed inner sleeve. 6 Tracks. Running Time 41:57

Feral Earth

Curse All Kings - Feral Spirits Rise! - Excerpt

Live Session #1 SOM / Eugene Nx (test mix

Written with:
Roland TR-707
Roland SH-3a
Roland D-10
Yamaha RX5
Kurzweil K2000
Kawai K5000S
Quasimidi 309

Null Object - Brighton Le Sands

The Pimpleton Procrasturbation Ensemble performs THE BUBONIC BIMBOS OF BARBIELAND CHOP THE HEADS OFF THEIR ADVERSARY'S MAN CHICKENS by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

THE BUBONIC BIMBOS OF BARBIELAND CHOP THE HEADS OFF THEIR ADVERSARY'S MAN CHICKENS

Here's a new one. Back in jungle territory and it feels good. 163 BPM. Please give it a listen and let me know what you think. Thanks.

Actual Gameplay

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

THE BUBONIC BIMBOS OF BARBIELAND CHOP THE HEADS OFF THEIR ADVERSARY'S MAN CHICKENS

Gary Lloyd Noland, composer

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